Modern & Post-War Art
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Modernist Illustration
Raoul dufy (1877 - 1953, french)
Etude de Papillons.
Watercolor and crayon on Ingres paper. 480x625 mm; 19x24½ inches. Stamped, Raoul Dufy, lower left.
This work is accompanied by a Photo Certificate, issued by Fanny Guillon-Laffaille, dated February 19, 1991. Certificate Number A91-719.
Estimate
$3,000 – $5,000
Konrad cramer (1888 - 1963, american)
Untitled, (A group of four New Year’s cards).
i) Watercolor on folded paper, 1938. 165x127 mm; 6½x5 inches. dated, 1938, lower center.
ii) Pencil, ink, and watercolor on folded paper, 1938. 153x121 mm; 6x4¾ inches. Signed, Konrad, lower center, and dated, 1938, in composition.
iii) Watercolor on card, 1938. 153x108 mm; 6x4¼ inches. Signed, Konrad Cramer, lower center, and dated, 1938, in composition.
iv) Ink, charcoal, and watercolor on folded paper, 1938. 158x121 mm; 6¼x4¾ inches. Signed, Konrad Cramer, lower center, and dated, 1938, in composition.
Provenance: The artist; Eileen Cramer, Woodstock, NY; Acquired by the current owner from above, c.1980.
Estimate
$500 – $700
Clarence holbrook carter (1904 - 2000, american)
i) Pipeline, ii) Plowing, iii) Coal.
i) Watercolor on paper, 1955. 8¾x11¼ inches. Signed, Clarence H. Carter, and dated, 55, lower right.
ii) Watercolor on paper, 1955. 229x279 mm; 9x11 inches. Signed, Clarence H. Carter, and dated, 55, lower left.
iii) Watercolor on paper, 1955. 191x273 mm; 7½x10¾ inches. Signed, Clarence H. Carter, and dated, 55, upper right.
Provenance: Acquired directly from the artist by the current owner.
These three works were commissioned by The First National City Bank of New York, and used in their marketing publications. The bank commissioned many leading American artists to contribute to their publications, Clarence Carter and Walter Tandy Murch amongst the short list of most frequent contributors.
Estimate
$2,500 – $3,500
Cubism & Synchromism
Jan matulka (1890 - 1972, czech/american)
Untitled, (Central Park), and Untitled, (Paris Scene), Double sided.
Watercolor and charcoal on paper, c.1927. 1381x508 mm; 15x20 inches. Signed, J. Matulka, inscribed, Paris, and numbered, 738, lower right, verso.
Estimate
$4,000 – $6,000
Josef meierhans (1890 - 1980, swiss/american)
Untitled, (Seven Figures).
Pastel on paper. 228x279 mm; 9x11 inches.
Provenance: Estate of the artist; Snyder Fine Art, NY; Private collection, NJ.
Estimate
$700 – $900
James daugherty (1887 - 1974, american)
The Joy of Red.
Oil on Masonite, c.1960. 762x463 mm; 30x18¼ inches. Stamped with the artist's estate stamp on verso.
Provenance: Estate of the artist.
In 1912, American artists living in Europe experimenting with Cubist concepts, developed a movement known as Synchromism. Led by Morgan Russell and Stanton MacDonald-Wright, James Daugherty, as well as fellow Americans Andrew Dasburg, Thomas Hart Benton, and Patrick Henry Bruce would gain recognition for contributions of the development of Modern art. The Joy of Red, and the following two lots represent a period in Daugherty's career when he returned to study new avenues stemming from his earliest abstract concepts.
Estimate
$4,000 – $6,000
James daugherty (1887 - 1974, american)
Abstraction.
Oil on canvasbaord, c.1960. 303x405 mm; 12x16 inches. Stamped with the artist’s estate stamp on verso.
Provenance: Estate of the artist.
Estimate
$1,200 – $1,800
James daugherty (1887 - 1974, american)
In and Out.
Oil on panel, c.1960. 406x304 mm; 16x12 inches. Stamped with the artist’s estate stamp on verso.
Provenance: Estate of the artist.
Estimate
$1,000 – $1,500
Museum of Non-Objective Painting
Rudolf bauer (1889 - 1953, german/american)
Untitled, (Three Quarter Female Portrait).
Ink, charcoal, and gouache on tan paper, c.1910-20. 470x273 mm; 18½x10¾ inches.
Provenance: Estate of Rudolf Bauer (minority shareholder); Borghi & Co., NY; Herbert Lerner Fine Art, Boca Raton, FL; Portico NY Inc.
The female figure depicted here is most likely drawn from a live subject. Her likeness is repeated in many of Bauer’s early figurative works, though the identity of this model is unknown.
Rudolph Bauer was one of the early pioneers in Non-Objective art, a form of abstraction void of recognizable imagery and reliant on line, color, and form to evoke an emotional and even spiritual reaction from the viewer.
In 1915 Bauer became involved with Der Sturm, a gallery in Berlin run by Herwarth Walden. Walden promoted Bauer’s works as well as artists active in der Blaue Reiter. Also involved with Der Sturm was Hilla Rebay. Bauer and Rebay developed a relationship, at first romantic but eventually a business venture driven by their mutual passion for the promotion of Non-Objective art.
This gouache, and the following drawing are part of a body of illustrative work Bauer created before, and into his time affiliated with Der Sturm.
Estimate
$1,000 – $1,500
Rudolf bauer (1889 - 1953, german/american)
Untitled, (Cafe Society).
Pencil on tan paper, c.1910-15. 635x470 mm; 25x18½ inches. Estate stamp, lower left.
Provenance: Estate of Rudolf Bauer (minority shareholder); Borghi & Co., NY; Herbert Lerner Fine Art, Boca Raton, FL; Portico NY Inc.
Estimate
$500 – $700
Hilla rebay (1890 - 1967, german/american)
Untitled.
Watercolor on paper, c.1920. 260x197 mm; 10¼x7¾ inches.
Provenance: The Artist; Hilla Rebay Foundation; Snyder Fine Art, NY; Private collection.
In 1927 Hilla Rebay left Germany for New York City. Her goals, shared by Rudolf Bauer, were to promote Non-Objective art in America, and to find a patron of means to collect and help promote this artistic concept. Solomon R. Guggenheim would be that patron. Rebay at his side and Bauer as their agent in Germany, Guggenheim established a foundation, amassed a collection of Non-Objective art and would eventually house his collection in The Museum of Non-Objective Painting, with Hilla Rebay as his director.
Solomon R. Guggenheim’s foundation, with Hilla Rebay at the helm, gave stipends to artists and encouraged their pursuit of pure abstraction. Many artists benefited from this program, including Rudolf Bauer, Rolph Scarlett, Irene Rice Pereira, Alice Mattern, and Penrod Centurion.
Estimate
$1,000 – $1,500
Hilla rebay (1890 - 1967, german/american)
Untitled.
Watercolor on paper, c.1922. 150x95 mm; 6x3¾ inches.
Provenance: The Artist; Hilla Rebay Foundation; Snyder Fine Art, NY; Private collection.
Estimate
$1,000 – $1,500
Rolph scarlett (1889 - 1984, canadian/american)
Untitled, (Study in Red and Black).
Ink, and watercolor on paper, c. 1935. 425x305 mm; 16¾x12 inches. Signed, Scarlett, lower right.
Provenance: The Estate of Rolph Scarlett; Fletcher Gallery, Woodstock, NY; William Meyers, NY.
Exhibited: Weinstein Gallery, San Francisco, CA, Rolph Scarlett: Listen with Your Eyes, March - April, 2011.
Estimate
$800 – $1,200
Rolph scarlett (1889 - 1984, canadian/american)
Open Space.
Gouache on brown paper, c.1940. 158x158 mm; 6¼x6¼ inches. Signed, RS, lower right.
Provenance: Estate of the artist; [Blake Benton Fine Art, Cragsmoor, New York].
Estimate
$1,200 – $1,800
Rolph scarlett (1889 - 1984, canadian/american)
Calculations.
Gouache on paper. 190x280 mm; 7½x11 inches. Signed, RS, lower right.
Provenance: Estate of the artist; [Blake Benton Fine Art, Cragsmoor, New York].
Estimate
$1,000 – $1,500
Penrod centurion (1905 - 1986, german/american)
Cromorfia Imagina Duro No. 34.
Ink and gouache on paper, 1944. 280x381 mm; 11x15 inches. Signed, Centurion / or / Pentagone, and dated, May 26 / 1944, lower right. Inscribed as titled, lower left.
Provenance: Martin Diamond Fine Arts, NY; Snyder Fine Art, NY; Private collection.
Estimate
$1,000 – $1,500
Penrod centurion (1905 - 1986, german/american)
Cromorfia Imagina Duro No. 11.
ink and gouache on paper, 1944. 11x15¼ inches. Signed, Centurion or, upper right. Signed, Pentagone or Centurion, and dated, Apr 25 / 1944, lower right. Inscribed as titled, lower left. Signed, Centurion or Pentagone, on verso.
Provenance: Martin Diamond Fine Arts, NY; Snyder Fine Art, NY; Private collection.
Estimate
$1,000 – $1,500
Alice mattern (1909 - 1945, american)
Untitled, (Abstraction).
Oil on canvasboard, 1939. 432x610 mm; 17x24 inches. Signed, Alice L. Mattern, and dated, '39, upper left.
Provenance: The Artist; Hilla Rebay Foundation; Snyder Fine Art, NY; Private collection.
Estimate
$10,000 – $15,000
Irene rice pereira (1902 - 1971, american)
i)Untitled, and ii)Daytona, (Pair).
i) Pastel on paper, 1957. 603x476 mm; 23¾x18¾ inches. Dated, 10/4/57, lower right.
ii) Gouache, pastel, and pencil on paper, 1950. 16¾x14 inches. Inscribed, Daytona, and dated, May 50, lower right.
Provenance: Gary Snyder Fine Art, NY.
Estimate
$1,200 – $1,800
Irene rice pereira (1902 - 1971, american)
Untitled, (Pair).
i) Pencil, and pastel on paper, 1951. 476x603 mm; 18¾x23¾ inches. Dated, June 1951, lower right.
ii) Penicl and pastel on paper, 1951. 603x476 mm; 23¾x18¾ inches. Dated, 10/4/51, and dated, 10/14, lower right.
Provenance: Gary Snyder Fine Art, NY.
Estimate
$1,200 – $1,800
American Abstract Artists
Ibram lassaw, (1913 - 2003, american)
Untitled.
Pencil and watercolor on paper, 1943. 197x260 mm; 7¾x10¼ inches. Signed, Lassaw, and dated, 1943, lower right.
Provenance: The Penny and Elton Yasuna Collection, NY.
Exhibited: Worcester Art Museum, Worcester, MA, The Second Wave: American Abstraction of the 1930s and 1940s, Selections from the Penny and Elton Yasuna Collection, September 12 - December 1, 1991. Other venues: Samuel P. Harn Museum, University of Florida, Gainesville, February 23 - April 12, 1992; Delaware Art Museum, Wilmington, October 3 - November 29, 1992.
Published: Strickler, Susan, Worcester Art Museum, Worcester, MA, The Second Wave: American Abstraction of the 1930s and 1940s, Selections from the Penny and Elton Yasuna Collection, illustrated, p. 59, plate 23.
In 1936, at the studio of sculptor Ibram Lassaw, a group of artists began meetings and formed the American Abstract Artists group in 1937. As one voice, they overcame the exclusion faced by modernist American artists from museum and gallery exhibitions, and funded shows of their own. Amongst the founding members were Ibram Lassaw, Carl Holty, Charles Green Shaw, Werner Drewes, John Opper, and Giorgio Cavallon. Later members also include John Little, Judith Rothschild, and Sidney Gordin.
Estimate
$2,000 – $3,000
Ibram lassaw, (1913 - 2003, american)
Untitled.
Pencil and watercolor on paper, 1941. 210x254 mm; 8¼x10 inches. Signed, Lassaw, and dated, 41, lower right.
Provenance: The Penny and Elton Yasuna Collection, NY.
Exhibited: Worcester Art Museum, Worcester, MA, The Second Wave: American Abstraction of the 1930s and 1940s, Selections from the Penny and Elton Yasuna Collection, September 12 - December 1, 1991. Other venues: Samuel P. Harn Museum, University of Florida, Gainesville, February 23 - April 12, 1992; Delaware Art Museum, Wilmington, October 3 - November 29, 1992.
Published: Strickler, Susan, Worcester Art Museum, Worcester, MA, The Second Wave: American Abstraction of the 1930s and 1940s, Selections from the Penny and Elton Yasuna Collection, illustrated, p. 59, plate 23.
Estimate
$2,000 – $3,000
Werner drewes (1899 - 1985, german/american)
Untitled.
Watercolor on paper, 1935. 11x8½ inches. Signed, Drewes, dated, 35, and inscribed with artist's device, lower left.
Provenance: The artist; Snyder Gallery, Princeton, NJ; Private collection.
Estimate
$800 – $1,200
Charles green shaw (1892 - 1974, american)
Sight.
Oil on canvasboard, 1940. 356x254 mm; 14x10 inches. Signed, Charles G. Shaw, and dated, 1940, on verso.
Provenance: Estate of the artist; Private collection, NY.
Charles Green Shaw was a founding member of the American Abstract Artists group. Unlike many of his peers, he possessed the means to travel to Europe and witness Modernist art first hand in the studios and salons of Paris and beyond. This work is a great example of Shaw finding his own language within the greater conversation of expression through line, form, and color. A study for Sight is in the collection of The National Gallery of Art, Washington DC, accession number 2015.19.2556.
Estimate
$8,000 – $12,000
Charles green shaw (1892 - 1974, american)
Separation.
Gouache on artists board, 1939. 254x178 mm; 10x7 inches. Signed, Charles G. Shaw, and dated, Nov. 1939, on verso.
Provenence: Estate of the artist; Private collection, NY.
Estimate
$7,000 – $9,000
Charles green shaw (1892 - 1974, american)
Sacred Places.
Oil on canvasbaord, 1942. 305x356 mm; 12x14 inches. Signed, Charles G. Shaw, and dated, 1942, on verso.
Provenence: Estate of the artist; Private collection, NY.
Estimate
$7,000 – $9,000
Charles green shaw (1892 - 1974, american)
Biomorphic Connections.
Oil on board, 1939. 178x140 mm; 7x5½ inches. Signed, Charles G. Shaw, on verso.
Provenence: Estate of the artist; Private collection, NY.
Estimate
$3,000 – $5,000
Carl holty (1900 - 1973, american)
Blue Progression.
Oil on Masonite, c.1941. 1219x914 mm; 48x36 inces. Signed, Carl Holty, and inscribed, Property of Billie Irving, on verso.
Provenance: The artist; Billie Irving, (as inscribed); Private collection, NY; Private collection, NY.
Estimate
$8,000 – $12,000
Carl holty (1900 - 1973, american)
Untitled.
Ink on paper, 1933. 260x394 mm; 10¼x15½ inches. Signed, C R Holty, and dated, 33, upper right.
Provenance: Private collection, NY; [Wright, Chicago, November 19, 2002, Lot 156]; Private collection, NJ.
Estimate
$1,500 – $2,500
Byron browne (1907 - 1961, american)
Untitled, (#88).
Gouache on paper, 1956. 660x508 mm; 26x20 inches. Signed, Byron Browne, and dated, April 24 / 1956, lower left. Inscribed, #88, on verso.
Provenance: The Estate of Bernice Weiss, Great Neck, NY; Acquired by the current owner from the above, 1999.
Estimate
$1,000 – $1,500
The Club
Giorgio cavallon (1904 - 1989, american)
Untitled, #1/87
Pencil and watercolor on paper, 1952. 381x457 mm; 15x18 inches. Signed, Giorgio Cavallon, and dated, 52, lower right.
Provenance: Gruenebaum Gallery, Ltd., NY.
As the looming threats of World War II increased the likelihood of an American role in the conflict, government attention to the Works Progress Administration Federal Art Project, and the funding dried up. Many artists were left with little options for showing their work. In New York City artists began formal gatherings, initiated by artist Philip Pavia, at 39 East 8th Street. These gatherings would become known as The Club, and the discussions would reach fruition when these artists collectively organized and held an exhibition in 1951 called The 9th Street Show. This show is seen by many as the beginning of Abstract Expressionism and The New York School. Following the success of The 9th Street Show, galleries began opening close by, notably, Hansa Gallery, and Tanager Gallery. Stable Gallery opened in 1953 on West 58th Street.
Artists with works in this auction who exhibited in The 9th Street Show: Peter Busa, Giorgio Cavallon, Jimmy Ernst, Michael Goldberg, Robert Motherwell, Robert Richenburg, and Theodoros Stamos.
Artists with works in this auction included in the first Annual Exhibition at Stable gallery, 1953: Giorgio Cavallon, Elaine de Kooning, Jimmy Ernst, Michael Goldberg, Ibram Lassaw, Fred Mitchell, Robert Motherwell, Robert Richenberg, and Ludwig Sander.
Estimate
$3,000 – $5,000
Giorgio cavallon (1904 - 1989, american)
Untitled, #330.
Watercolor on paper, 1966. 381x571 mm; 15x22½ inches. Signed, G. Cavallon, and dated, 66, lower right.
Provenence: Gruenebaum Gallery, Ltd., NY.
Estimate
$3,000 – $5,000
John little (1907 - 1984, american)
Festival.
Oil on canvas, 1960. 1295x1397 mm; 51x55 inches. Signed, John Little, and dated, ‘60, lower right. Signed, John Little, dated, 1960, and inscribed as titled, on verso. Numbered , JL-83, on stretcher.
Provenance: Estate of the artist.
Estimate
$7,000 – $9,000
John little (1907 - 1984, american)
Guericke.
Acrylic and paper collage on canvas, 1970. 1353x1149 mm; 53¼x45¼ inches. Signed, John Little, and dated, 70, lower left. Signed, John Little, dated, 1970, on verso. Inscribed as titled, and JL-126, on stretcher.
Provenance: Estate of the artist.
Estimate
$5,000 – $7,000
John opper (1908 - 1994, american)
Painting, #32.
Acrylic on canvas. 1524x1423 mm; 60x56 inches. Signed, John Opper, and inscribed, Ptg #32, on verso.
Estimate
$6,000 – $8,000
Sidney gordin (1918 - 1995, american)
Summer.
Oil crayon on paper, 1944. 356x273 mm; 14x10¾ inches. Signed, Sidney Gordin, lower left. Dated, Summer, 1944, lower right.
Provenance: The Artist; Sid Deutsch Gallery, NY; Private collection, NJ.
Estimate
$700 – $900
Judith rothschild (1921 - 1993, american)
Nauset Heights III.
Oil on canvasboard, 1970. 228x300 mm; 9x11¾ inches. Signed, Rothschild, lower left. Signed, J. Rothschild, dated, '70, and inscribed as titled, on backing.
Provenance: The Artist; Private collection, Philadelphia, PA.
This work is registered with the Judith Rothschild Foundation (no. 70.18). In the mid-1950s until the late 1960s, Rothschild's work shows strong influence from her mentor, Karl Knaths. Nauset Heights III is a breaking point in her career. Though she would retain the Ostwald Color System learned from Knaths, she begins to eliminate the use of hard line, and fractured picture plane so defining in the works of Knaths throughout his career.
Estimate
$1,200 – $1,800
Judith rothschild (1921 - 1993, american)
Sheild of Achilles XXXVII.
Acrylic, ink, and collage on canvas laid to paper, 1985. 490x623 mm; 19¼x24½ inches.
Provenance: The Artist; Private collection, Philadelphia, PA.
This work is registered with the Judith Rothschild Foundation (no. 85.10).
In Rothschild's Sheild of Achilles, and Eidolon series, we can clearly see her influence from Pierre Matisse's Cutout work. Judith Rothschild saw the Henri Matisse Retrospective at Grand Palais, Paris in 1970. The luscious figurative forms employed in her works of the 1980s are broken down and rearranged as abstract elements within the overall composition.
Estimate
$1,200 – $1,800
Judith rothschild (1921 - 1993, american)
Grey Eidolon.
Acrylic on aluminum construction, 1987. 32 3/4 x 38 1/4 inches.
Provenance: The Artist; Private collection, Philadelphia, PA.
Exhibited: Gimpel Weitzenhoffer Gallery, NY, Judith Rothschild: Reliefs and Paintings 1986-87, , 1988; Portland Museum of Art, Portland, ME, Judith Rothschild: Relief Paintings 1972-1987, and continuing to Pennsylvania Academy of the Fine Arts, Philadelphia, PA,1988; Maurice M. Pine Library, Fairlawn, NJ, Judith Rothschild, 1989; Long Point Gallery, Provincetown, MA, Myth and Ritual, 1989; State Tretyakov Gallery, Moscow, Russia, USSR, Beyond the Plane: Relief Paintings by Judith Rothschild, 1991; Andre Zarre Gallery, New York, NY, Judith Rothschild: Reliefs and Collages, 1992; University of Michigan Museum of Art, Ann Arbor, MI, Beyond the Plane: Relief Paintings by Judith Rothschild, 1992; Provincetown Art Association and Museum, Provincetown, MA, The League at the Cape, 1993; Metropolitan Museum of Art, New York, The Paintings of Judith Rothschild: An Artist’s Search, 1998; The Phillips Collection, Washington, D.C., Judith Rothschild: An Artist’s Search, 1999; The State Russian Museum, St. Petersburg, Russian Federation (Ludwig Museum at the Marble Palace), Judith Rothschild, 2002; Von der Heydt-Museum, Wuppertal, Germany, Judith Rothschild / 1921-1993 / Retrospektive, 2003.
Publications: Pennsylvania Academy of the Fine Arts, Judith Rothschild: Relief Paintings 1972-1987, 1988. Plate 10; Axsom, Richard H., Beyond the Plane: The Relief Paintings of Judith Rothschild, Hudson Hills Press, 1992. Plate 45, Page 72; Flam, Jack, Judith Rothschild: An Artist’s Search, Hudson Hills Press, 1998, Plate 42, Page 146; Wilkin, Karen, Judith Rothschild, Palace Editions, 2002, Page 158; Wilkin, Karen, Judith Rothschild, Palace Editions Europe, 2003, Page 151.
This work is registered with the Judith Rothschild Foundation (no. 87.59).
Estimate
$2,500 – $3,500
Judith rothschild (1921 - 1993, american)
Xmas.
Acrylic and ink with found object collage on board, 1971. 546x756 mm; 21½x29¾ inches. Signed, Rothschild, lower right.
Provenance: The Artist; Private collection, Philadelphia, PA.
This work is registered with the Judith Rothschild Foundation (no. 71.25).
Estimate
$1,500 – $2,500
John von wicht (1888 - 1970, german/american)
Untitled, (Pair).
i) Oil and crayon on rice paper, 438x311 mm; 17¼x12¼ inches. Signed, V. Wicht, lower left.
ii) Oil crayon and watercolor on artists board, 1950. 610x228 mm; 24x9 inches. Signed, V. Wicht, lower right. Dated, May, 1950, lower left.
Provenance: Estate of the artist; Private collection, NJ.
Estimate
$1,000 – $1,500
John von wicht (1888 - 1970, german/american)
Untitled.
Watercolor on paper, c.1955. 762x558 mm; 30x22 inches. Signed, V. Wicht, lower right.
Provenance: Estate of the artist; Private collection, NJ.
Bears the estate label on backing, and numbered, 79.
Estimate
$800 – $1,200
Ward lockwood (1894 - 1963, american)
Flowering.
Casein and oil on canvas, 1956. 914X1219 MM; 36x48 inches. Signed, Lockwood, and dated, 56, lower right.
Provenance: Estate of the artist;Kansas University, Lockwood Collection; Private collection.
Exhibited: University of Texas Art Museum, Austin, Texas, Ward Lockwood: A Retrospective Exhibition of Paintings, Prints and Drawings, October 1 - November 12, 1967, continuing on to five other venues; Amon Carter Museum, Fort Worth, Texas, Ward Lockwood Retrospective, November 22, 1967 - January 14, 1968, loan number ACM WL 64.
Estimate
$4,000 – $6,000
Ward lockwood (1894 - 1963, american)
Improvisation.
Polymer on canvas, 1959. 914x1219 mm; 36x48 inches. Signed, Lockwood, lower right.
Provenance: Estate of the artist; Kansas University, Lockwood Collection; Private collection.
Exhibited: University of Texas Art Museum, Austin, Texas, Ward Lockwood: A Retrospective Exhibition of Paintings, Prints and Drawings, October 1 - November 12, 1967, continuing on to five other venues.; Amon Carter Museum, Fort Worth, Texas, Ward Lockwood Retrospective, November 22, 1967 - January 14, 1968, loan number ACM WL 84.
Estimate
$3,000 – $5,000
Louis ribak (1902 - 1979, lithuanian/american)
Untitled, (No. 9)
oil on canvas. 648x540 mm; 25½x21¼ inches. Signed, Ribak, lower right. Inscribed, No.9, on stretcher.
Provenance: The Beatrice Mandelman Ribak Estate.
Estimate
$3,000 – $5,000
PAUL BODIN (1910 - 1994,AMERICAN)
Paul and Virginia.
Oil on canvas. 48x35¾ inches. Signed, Bodin, lower left.
Provenance: The artist; Thence by descent: Acquired from the son of the artist by the current owner.
Paul Bodin began his career painting representational subject matter, mainly portraiture and cityscapes. During the active years of the Works Progress Administration Federal Art Project, (WPA/FAP) Bodin was employed under the easel painting division. Through his association with Adolph Gottlieb, Milton Avery, and artists often refered to as color field painters, he began gravitating toward an abstract format, and in the second half of the 1940s he found his mature style, represented here as lots 46 and 47.
Estimate
$1,200 – $1,800
Paul bodin (1910 - 1994,american)
Untitled.
Oil on canvas. 508x406 mm; 20x16 inches. Signed, Bodin, lower left.
Provenance: The artist; Thence by descent: Acquired from the son of the artist by the current owner.
Estimate
$800 – $1,200
Michael lekakis (1907 - 1998, american)
Untitled, (Abstraction).
Gouache on paper. 572x788 mm; 22½x31 inches. Signed in Greek lettering, lower right.
Provenance: Estate of the Artist; PTE Fine Arts, NY; [Wright, Chicago, November 9, 2003, Lot 332]; Private collection, NJ.
Estimate
$800 – $1,200
Edward millman (1907 - 1964, american)
Subterranean.
Oil on board, 1960. 1220x610 mm; 48x24 inches. Signed, Edward Millman, lower right. Dated, 1960, and inscribed as titled, on verso.
Provenance: The artist; thence by descent; Acquired by the current owner from the artist’s grandchildren.
Estimate
$2,000 – $4,000
Maurice sievan (1898 - 1981, american)
Portalek.
Oil on canvas, 1959. 1168x1016 mm; 46x40 inches. Signed, Sievan, lower right. Signed, Maurice Sievan, dated, 1959, inscribed, 468, and as titled, on verso, and again on stretcher.
Provenance: Estate of the Artist.
This painting represents a period in the career of Sievan, begun in 1957, comprised of bold fields of color presented in a purely abstract subject matter. Through his friendship with Mark Rothko, Alfred Barr purchased a work of Sievan’s for the Museum of Modern Art in 1964. Sievan used Mark Rothko’s Provincetown studio from 1960-62 while the artist was in Europe.
Estimate
$3,000 – $5,000
Lee gatch (1902 – 1968, american)
Requiem.
Oil, linen, and cast stone, on board, 1967. 743x1067 mm; 29¼x42 inches. Signed, Gatch, and dated, 67, lower right.
Provenance: Staempfli Gallery, NY; Private collection.
Exhibited: Staempfli Gallery, NY, Lee Gatch: Stone Paintings, February 8 - 26, 1972.
Literature: Lewis, Peggy, Staempfli Gallery, Lee Gatch; Stone Paintings, Cover illustration in color, listing number 13, 1972.
Estimate
$2,000 – $3,000
The Irascibles
Theodoros stamos (1922 - 1997, american)
What the Wind Does, (Still Life, Fire Island).
Oil on masonite, 1947. 762x609 mm; 30x24 inches. Signed, in Greek lettering, and inscribed as titled, on verso.
Provenance: Private Collection, NY; [Christie's, New York, First Open / Post-War and Contemporary Art, December 7 - 14, 2017, lot 162]; Private Collection, NY.
Artists angered by what they saw as a bias of juror selection for a pending exhibition at the Metropolitan Museum of Art, wrote an open letter to the museum president, Roland L. Redmond, stating their grievances. The letter was penned by Adolph Gottlieb, and signed by many, including Jimmy Ernst, Theodoros Stamos, Ibram Lassaw, and Robert Motherwell. Barnett Newman delivered the letter to the New York Times, and it appeared on the front page Monday, May 22, 1950. This rebellious act by a handful of artists caused such a stir, Life magazine published a follow-up article complete with a black and white image of some of the artists, captioned The Irascibles.
Several of the New York School artists, such as Stamos, Mark Rothko, William Baziotes, and Hard Edge painter, Nassos Daphnis had a period of exploring abstracted organic forms. Theodoros Stamos painted many works utilizing sea forms as a basis for his abstractions. These root sources for inspiration are reminiscent of Wassily Kandinsky's biomorphic period, inspired by his introduction to microscopic images of life forms.
Estimate
$7,000 – $9,000
Robert motherwell (1915 - 1991, american)
Gauloises on Grey #26.
Acrylic and paper collage on boad, 1972. 508x407 mm; 20x16 inches. Signed, RM, and dated, 72, lower left. Signed, Robert Motherwell, dated, 9 July 1972, and inscribed, #26, on verso.
Provenance: Dedalus Foundation, New York, until 2007; Collection of Mr. and Mrs. Mark L. Brock, Concord, MA; Acquired from the above by the present owner.
Exhibited: Current Editions, Seattle, Robert Motherwell: Works on Paper, Including the Illuminations for A La Pintura, May - April 1973; Knoedler & Company, New York, Robert Motherwell: Recent Paintings and Collages, April 1974, cat. no. 18.
Published: Arnason, H. H., Robert Motherwell. Preface by Bryan Robertson. 1st ed. New York: Harry N. Abrams, 1977, color illus. n.p. pl. 231 (illustrated in color); Flamm, J., Rogers, K, and Clifford, T., Eds., Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941-1991, Vol. 3, Collages and Paintings on Paper and Paperboard, New Haven 2012, cat. no. C315, p. 164, (illustrated in color).
Estimate
$30,000 – $50,000
Michael goldberg (1924 - 2007, american)
Untitled, (MG 5).
Ink and watercolor on paper, 1962. 368x356 mm; 311x362 mm; 12¼x14¼ inches. Signed, Goldberg, and dated, 62, lower right.
Provenance: Linda Hyman Fine Arts; [Doyle, NY, October 8, 2008, Lot 1039]; Private collection, NJ.
Estimate
$1,000 – $1,500
Michael goldberg (1924 - 2007, american)
Untitled, (MG 3).
Ink on paper, 1962. 368x356 mm; 14½x14 inches. Signed, Goldberg, and dated, 62, lower right.
Provenance: Linda Hyman Fine Arts; [Doyle, NY, October 8, 2008, Lot 1038]; Private collection, NJ.
Estimate
$1,000 – $1,500
Ernest briggs (1923 - 1984, american)
Untitled.
Oil on canvas, 1982. 394x458 mm; 15½x18 inches. Signed, E. Briggs, and dated, 82, on verso.
Provenance: Anita Shapolsky Gallery, NY; Private collection.
Estimate
$2,000 – $3,000
Robert richenburg (1917 - 2006, american)
Untitled.
Oil on canvas. 762x610 mm; 30x24 inches. Signed, Richenburg, lower right. Signed, Robert Richenburg, on verso.
Provenance: The Estate of Alexander Bing III; [Stair Galleries, Hudson, NY, June 12, 2016, Lot 220]; Private Collection.
Estimate
$5,000 – $7,000
Jimmy ernst (1920 - 1984, german/american)
Illuminations, #7.
Gouache on paper, 1971, 311x407 mm; 12¼x16 inches. Signed, Jimmy Ernst, and dated, 71, lower right.
Provenance: The artist; Private collection, Great Neck, NY; Thence by descent to the current owner.
This work bears a Grace Borgenicht Gallery label, on frame backing.
Estimate
$2,000 – $3,000
John grillo (1917 - 2014, american)
Untitled, (#373).
Oil on panel, 1960. 444x298 mm; 17½x11¾ inches. Signed, JG, lower left. Inscribed, #373, on verso.
Provenance: Howard Wise Gallery, NY; The CIBA-Geigy Collection; Purchased by the current owner from above.
Estimate
$4,000 – $6,000
Fred mitchell (1923 - 2013, american)
From the Terrace.
Oil on canvas, 1949. 997x648 mm; 39¼x25½ inches. Signed, Fred Mitchell, dated, 1949, and inscribed, From The Terrace / Via Dei Serpenti, 90, Roma, on the stretcher.
Provenance: Private collection; [Doyle, New York, November 4, 2009, Lot 27].
Estimate
$3,000 – $5,000
Ludwig sander (1906 - 1975, american)
Untitled.
Charcoal on paper, 1970. 19¾x19¼ inches. Signed, Sander, and dated, 1970, lower center. Inscribed with estate number, LSE70-73, lower left margin.
Provenance: [David Rago, Lambertville, NJ, April 3, 2004, lot 232]; Private collection, NJ.
Estimate
$800 – $1,200
Elaine fried dekooning (1918 - 1989, american)
Bacchus.
Acrylic on panel, 1983. 14½x11¾ inches. Signed, EdeK, and dated, '83, lower right.
Provenance: Private collection, New York; Purchased by current owner from the above, 1992.
Estimate
$10,000 – $15,000
Judith godwin (b. 1930, american)
Blue Heat, #1.
Acrylic, charcoal and collage on Arches paper, 1978. 22½X30 Inches. Signed, Godwin, lower right. Signed, Godwin, dated, 1978, and inscribed as titled, on verso.
Provenance: Private collection, New York.
Estimate
$2,000 – $3,000
Peter busa (1914 - 1985, american)
Beauty and the Beast.
Oil on canvas, 1955. 457x914 mm; 18x36 inches. Signed, Busa, lower right. Signed, Busa, and dated, 55, on verso. Inscribed as titled, on stretcher.
Provenance: Gary Snyder Fine Art, NY.
Estimate
$4,000 – $6,000
Charlotte park (1918 - 2010, american)
i) Scree, and ii) Hickory, (Pair).
i) Oil and oil crayon on canvas, 1976. 356x356 mm; 14x14 inches. Signed, C. Park, lower right. Signed, Charlotte park, and dated, 76, on verso.
Provenance: Private collection, NY; [Doyle, NY, February 28, 2007, Lot 3081].
ii) Acrylic and oil crayon on illustration board, 1972. 560x560 mm; 22x22 inches. Signed, C. Park, lower right.
Provenance: Private collection, NY; [Doyle, NY, February 28, 2007, Lot 3082].
Exhibited: Guild Hall, East Hampton, NY, Young Collectors Gallery, 1973.
Estimate
$1,000 – $1,500
Buffie johnson (1912 - 2006, american)
Mist.
Oil on canvas, 1960. 546x648 mm; 21½X 25½ Inches. Signed, Buffie Johnson, upper left. Signed, Buffie Johnson, dated, 1960, and inscribed as titled, on verso.
Provenance: The artist; [Anita Shapolsky Gallery, NY].
Exhibited: Galerie Thibaut, NY, Buffie Johnson: Phases of the Sun, April 17 - May 6, 1961; Anita Shapolsky Gallery, NY, Buffie Johnson, Transcendentalist, March 15-April 9, 2002; Anita Shapolsky Gallery, NY, Buffie Johnson Memorial Exhibition, January 27-March 24, 2007.
Estimate
$2,000 – $3,000
Dorothy dehner (1901 - 1994, american)
Untitled.
Bronze with light brown patina, c.1972. 305x126x51 mm; 12x5x2 inches. Signed, Dehner, and dated, illegibly.
Provenance: Acquired directly from the artist by the current owner.
Estimate
$4,000 – $6,000
Dorothy dehner (1901 - 1994, american)
Untitled, (No. 3).
Polished bronze, 1981. 248x95x38 mm; 9¾x3¾x1½ inches. Signed, Dehner, and dated, ‘81.
Provenance: Acquired directly from the artist by the current owner.
Estimate
$3,000 – $5,000
Jack roth (1927 - 2004, american)
Untitled.
Acrylic on unprimed linen, 1965. 46x50 inches. Signed, Roth, on overlap. Estate stamped and numbered, JR-113-65, on stretcher.
Provenance: Estate of the artist.
Estimate
$4,000 – $6,000
Jack roth (1927 - 2004, american)
Untitled.
Acrylic on unprimed canvas, 1975. 813x813 mm; 32x32 inches. Signed, Roth, and dated, 75, on verso. Estate stamped, and numbered JR3911, on stretcher. Numbered, 2603, on overlap.
Provenance: Estate of the artist.
Estimate
$2,500 – $3,500
Merton simpson (1928 - 2013, american)
Universal Orchestration, 6.
Oil on board, 1982. 457x603 mm; 18x23¾ inches. Signed, M.D.S., and dated, 82, lower right. Signed, M.D. Simpson, dated, 82, and inscribed as titled, on verso.
Provenance: Merton Simpson Gallery, New York, with the artist’s typed label on verso; Estate of the artist; Private collection, South Carolina.
Estimate
$3,000 – $5,000
Color Field, Pop & Minimalism
Albert stadler (1923 - 2000, american)
Orbit.
Acrylic on canvas, 1970. 1842x1804 mm; 72½x71 inches. Signed, Albert Stadler, dated, 1970, and inscribed as titled, on verso.
Provenance: Frank H. Porter, Cleveland; The Main Trust of Frank H. Porter, Cleveland; Private collection; [Christie's, New York, Christie's Interiors, January 13, 2009, Lot 389].
Estimate
$8,000 – $12,000
Emily mason (1932 - 2019, american)
Untitled.
Oil on canvas. 1041x737 mm; 41x29 inches. Signed, Emily Mason, lower right. Signed, Emily Mason, on stretcher.
Provenance: Gary Snyder Fine Art, NY.
Estimate
$6,000 – $8,000
James hilleary (1924 - 2014, american)
Untitled.
Metal foil tape and acrylic sheets in a metal frame, 1969. 1067x1067 mm; 42x42 inches.
Provenance: Commissioned by Leslie and Cay Bell, Bethesda, MD; thence by descent to the current owner.
Swann is grateful to Cecily Hilleary, daughter of the artist and executor of his estate, for confirming the authenticity of this work.
James Hilleary spent most of his life in the Washington DC area, and is often included in listings of the DC Color Field artists. His exploration in color and striped formats was arrived at independently, yet he was exhibited at important DC galleries that emphasized DC Color Field, such as Henri Gallery, and the artist owned and operated Studio Gallery founded in 1956 by artist Jeannie Lea Knight. Hilleary lived a life of dual careers as both a painter and an architect. This work was conceived, site specific, for an opening between rooms in the second home of the Bell family, and is meant to be viewed from both sides.
Estimate
$3,000 – $5,000
Michael michaeledes (1927-2015, cypriot/british)
Untitled.
Acrylic on unprimed canvas, 1965. 762x762 mm; 30x30 inches. Signed, Michael Anthony Michaeledes, and dated, London 1965, on overlap.
Povenance: The artist; [PTE Fine Arts, New York]; Private collection, New York, acquired directly from the above.
Estimate
$3,500 – $4,500
John wesley (b. 1928, american)
7 Maidens.
Duco and oil on canvas, 1963. 1016x1829 mm; 40x72 inches. Signed, John Wesley, dated, 1963, and inscribed as titled, verso.
Provenance: Robert Elkon Gallery, NY.
Exhibited: Robert Elkon Gallery, NY, John Wesley, January 7 - February 2, 1964.
Published: Celant, Germano, Fondazione Prada, John Wesley, 2009. illustrated in color, p.44.
Included in this lot is the exhibition poster for the 1964 Robert Elkon Gallery, John Wesley, exhibition.
Born in Los Angeles, California, John Wesley moved to New York in 1960 as the Pop Art scene and happenings were being played out in real time in the Tenth Street galleries. His earliest works of Emblem Paintings brought him recognition. He would evolve his pop dialogue using cartoon characters, Blondie and Dagwood, and erotic imagery against a field of blue.
Estimate
$80,000 – $120,000
Walasse ting (1929 - 2010, chinese/american)
i) Hot and Sour Soup, ii) Hot and Sour Soup, iii)Green Banana, (Three Portfolios).
i)Portfolio with hand lettered poems, acrylic and ink drawings, and 19 color lithographs, 1969. 407x285 mm; 16⅛x11¼ inches (12 folded sheets), loose as issued, in slip case. Edition of 3. Inscribed, Open paper bag / Catch / Moonlight / for you / to Vivian / only 3 books of / handwriting / This is no. 1, signed Walasse Ting, and dated, 69, inside back cover.
ii) Portfolio with 50 poems and 22 color lithographs, 1969. 407x285 mm; 16⅛x11¼ inches (16 folded sheets), loose as issued. Edition of 1050. Printed by Bjørn Rosengreen, Copenhagen. Published by the Sam Francis Foundation, Pasadena, CA. Original printed binding, and slip case. Inscribed, To Dorothy and Mark / Sunshine as best wishes / Moonlight as dessert / from, signed, Walasse, and dated, 9 November 1969 / N.Y.C., inside cover of wrap. Inscribed, This book is numbered 824, signed, Walasse, and dated, 5 November 1969 N.Y.C., on back cover.
iii) Portfolio with 10 poems and 10 color lithographs, 1971. 370x280 mm; 14½x11 inches (7 folded sheets), loose as issued. Edition of 800. Printed by Bjørn Rosengreen, Copenhagen, for Lefebre Gallery, NY. Signed, Ting, inscribed, No. 629, and dated, 1971, in green crayon, inside front cover.
Provenance: The artist; Dr. Richard Wedeen, NJ.
Estimate
$12,000 – $18,000
Sol lewitt (1928 - 2007, american)
Horizontal Brushstroke.
Gouache on paper, 2003. 280x762 mm; 11X30 Inches. Signed, S. LeWitt, and dated, 03, lower right.
Provenance: [Wright, Chicago, February 26, 2009, lot 110]; Helwaser Gallery, NY; Private collection, NY.
Estimate
$18,000 – $22,000
March avery (b. 1932, american)
Spring Birches.
Oil on canvasboard, 1977. 610x508 mm; 24x20 inches. Signed, March Avery, and dated, 77, lower right. Signed, March Avery, dated, 1977, and inscribed as titled, on verso.
Provenance: Gary Snyder Fine Art, NY.
Estimate
$1,500 – $2,500
John skolle (1903 1988, german/american)
Abstraction, #1.
Oil on Masonite. 508x813 mm; 20x32 inches. Signed, Skolle, lower right.
Provenance: [Bakker/Boccelli, Cambridge, MA, June 20, 1999, Lot 38].
Estimate
$1,500 – $2,500
Stanley bate (1903-1972, american)
Untitled, #58.
Oil on canvas. 1067x1016 mm; 42x40 inches. Signed, Stanley Bate, lower right. Inscribed, #58, on stretcher.
Provenance: Estate of the Artist.
Estimate
$3,000 – $5,000
Xanti schawinsky (1904 - 1979, swiss/american)
Untitled, (E-191) from the Eclipse Series.
Acrylic on canvas, 1967. 584x584 mm; 23x23 inches. Signed, Schawinsky, and dated, 67, lower right. Inscribed, to Vera, lower left. Inscribed, E-191, on verso.
Provenance: The Artist; Private Collection, (Possibly Vera B. Williams, a student at Black Mountain College while Schawinsky was an instructor); By descent to Steven Frisina; Private collection.
Xanti Schawinsky attended the Bauhaus school, studying experimental photography. His studies also included painting, and theatrical design. After imigrating to the United States, his former instructor from the Bauhaus School, Josef Albers, invited him to Black Mountain College, North Carolina where he further developed his concepts in theatrical design.
While enrolled at the bauhaus School he met fellow student, Theodore Lux Feininger, son of instructor Lyonel Feininger. The two men collaborated on experimental photographs, one of which will be included in The Roaring Twenties, Guggenheim, Bilbao, May 7 - September 19, 2021.
Estimate
$2,000 – $3,000
Moshe castel (1909 - 1991, israeli)
Stele du Mignon.
Oil, basalt and resin on canvas, 1963. 1004x807 mm; 39½x31¾ inches. Signed, Castel, dated, 1963, and inscribed as titled, on verso.
Provenance: Lefebre Gallery, NY; Private collection, Great Neck, NY; Thence by Descent to the current owner.
Work from this period in Castel's career resulted after the artist visited ancient synagogues in Galilee constructed of basalt stone. The relief carvings he witnessed there gave him inspiration. He then developed a method of grinding basalt, then fixing it into shaped forms using resins.
Estimate
$6,000 – $8,000
Mordecai moreh (b. 1937, israeli/french)
Crucified Bird, No. 1.
Oil on canvas, 1962. 90x70 mm; 35½x27½ inches. Signed, MOREH, and dated, 14-1-1962, lower left. Signed in Hebrew, lower right.
Provenance: Private collection, Great Neck, NY; Thence by Descent to the current owner.
Estimate
$1,200 – $1,800
Mark di suvero (b. 1933, american)
Untitled.
Ink on paper, 2005. 762x558 mm; 30x22 inches. Signed, Mark d. Suvero, and dated, 2005, lower center.
Provenance: Gary Snyder Fine Art, NY.
Estimate
$2,000 – $3,000
Sewell sillman (1924 - 1992, american)
Untitled, IV.
Oil on masonite, 1961. 489x508 mm; 19¼x20 inches. Signed, Sillman, dated, 1961, and inscribed, IV, upper left margin.
Provenance: Estate of the Artist; James McNair; Private collection.
Estimate
$3,000 – $5,000
Robert natkin (1930 - 2010, american)
Bath.
Acrylic on canvas, 1975. 30x54 inches. Signed, Natkin, lower right. Inscribed, for Ellie with love! from Bob, on verso. dated, 1975, and inscribed as titled, on overlap.
Provenance: [Doyle, New York, November 14, 2000, Lot 53].
Estimate
$4,000 – $6,000
Hilton brown (b. 1938, american)
Green Diamond.
Polymer on canvas, 1963-64. 1219x1168 mm; 48x46 inches. Signed, H. Brown, dated, 1963-64, and inscribed as titled, on verso.
Provenance: Gary Snyder Fine Art, NY.
Estimate
$1,000 – $1,500
American Surrealism
James guy (1909 - 1983, american)
Intellectual Merry-Go-Round.
Oil on canvas, 1940. 457x356 mm; 18x14 inches. Signed, Guy, and dated, 40, lower left.
Provenance: Estate of the artist; Graham Gallery, NY; Private collection, acquired from above, 1985; [Treadway Toomey Auctions, Cincinnati, OH, December 7, 2013, Lot 546]; Private collection.
Estimate
$12,000 – $18,000
Helen lundeberg (1908 - 1999, american)
The Edge.
Oil on board, c.1951. 406x508 mm; 16x20 inches. Signed, Lundeberg, and inscribed as titled, on verso.
Provenance: Acquired directly from the artist by the current owner.
Exhibited: The Pasadena Art Institute, Helen Lundeberg, November, 1953.
Estimate
$7,000 – $9,000
Lorser feitelson (1898 - 1978, american)
Sketch of Nudes.
Oil on panel, 1944. 610x762 mm; 24x30 inches. Signed, Feitelson, lower right. Inscribed, To grand guys, Steve and Ethel, Lorser, May 1952, signed, Lorser Feitelson, dated, 1944, and inscribed as titled on verso.
Provenance: Jack Rutburg Fine Art, Los Angeles, CA; Stephen and Ethel Longstreet, Beverly Hills, CA; [Bohnams, CA, November 17, 2009, lot 2005].
Exhibited: Jack Rutberg Fine Atrts, Los Angeles, CA, Nude, October 21 - December 23, 2006.
Estimate
$9,000 – $12,000
Xavier gonzalez (1898 - 1993, spanish/american)
Oragami and Daisies.
Oil on canvas, 1977. 737x990 mm; 29x39 inches. Signed, XG, and dated, NY 77, lower right. Signed, Xavier Gonzalez, dated, New York 1977, and inscribed as titled, on verso. Inscribed, #60 Origama, on stretcher.
Provenance: [Heritage Auctions, Dallas, TX, December 2, 2006, Lot 36340]; Private collection.
Exhibited: Provincetown Art Association, The Yater Years, August 14 - September 22, 1992.
Estimate
$3,000 – $5,000
Xavier gonzalez (1898 - 1993, spanish/american)
Provincetown.
Pencil and watercolor on paper. 458x609 mm; 18x24 inches. Signed, XG, lower right. Inscribed, Provinc, and, 39D, on verso.
Estimate
$1,000 – $1,500
Kelly fearing (1918 - 2011, american)
Sacred Beast Walking Gently on a Beach.
Acrylic on canvas, 1971. 762x610 mm; 30x24 inches. Signed, Kelly Fearing, lower right.
Provenance: [Valley House Gallery, Dallas]; Private collection, Texas.
Kelly Fearing taught at the University of Texas, Austin from 1947 until his retirement in 1987. His first teaching position was at Texas Wesleyan College, Fort Worth, TX. While in Fort Worth he met like minded modernist artists and joined their group, known as the Forth Worth Circle.
This representational work, with a surrealist edge, is typical of Fearing's paintings from the 1970s.